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200 10$aFilm hieroglyphs $eruptures in classical cinema /$fTom Conley, with a new Introduction
205   $a1st ed.
210   $aMinneapolis $cUniversity of Minnesota Press$dc2006
215   $a1 online resource (300 p.)
300   $aOriginally published: Minneapolis : University of Minnesota Press, 1991.
311   $a0-8166-4970-7 
320   $aIncludes bibliographical references (p. 217-241) and index.
327   $aContents; Acknowledgments; Hieroglyphs Then and Now; Introduction; 1. The Filmic Icon: Boudu sauve? des eaux; 2. The Law of the Letter: Scarlet Street; 3. Dummies Revived: Manpower; 4. The Nether Eye: Objective, Burma!; 5. Facts and Figures of History: Paisan; 6. The Human Alphabet: La be?te humaine; 7. Decoding Film Noir: The Killers, High Sierra, and White Heat; Epilogue; Appendix; Notes; Index
330   $aAt a time when traditional film theory privileged the purely visual, Film Hieroglyphs introduced a new way of watching film-examining the ways in which writing bears on cinema. Author Tom Conley gives special consideration to the points (ruptures) at which story, image, and writing appear to be at odds with one another. Conley hypothesizes that major directors-Renoir, Lang, Walsh, Rossellini-tend unconsciously to meld history and ideology. Graphic elements are seen as simultaneously foreign and integral to the field of the image. From these contradictions hieroglyphs emerge that mark a design 
606   $aMotion picture plays$xHistory and criticism
615  0$aMotion picture plays$xHistory and criticism.
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